Why Do We Sing Sacred Harp?

Panel discussion at the Alabama Folklife Association's "We'll All Sing Hallelujah" Symposium.
Panel discussion at the Alabama Folklife Association’s “We’ll All Sing Hallelujah” Symposium.

On Saturday March 15 I moderated a panel discussion in Columbiana, Alabama, on Sacred Harp music. The event was part of a daylong program called “We’ll All Sing Hallelujah” celebrating the opening of Sacred Sounds of Alabama, a new traveling exhibition created by the Alabama Folklife Association. The panel featured an esteemed and varied group of Alabama and Mississippi Sacred Harp singers, teachers, and authors:

Steve Grauberger, folklife specialist at the Alabama Center for Traditional Culture, recorded the day’s events and posted them to YouTube. I’ve embedded his video of the panel discussion above.

I asked the singers on the panel about how they became involved in Sacred Harp singing, what Sacred Harp singing means to them and why they choose to participate, how the style has changed over the course of their involvement, and what they imagine the future holds for Sacred Harp. The panelists spoke openly and with great feeling about their involvement in Sacred Harp singing. I’m grateful to them for their participation.

Our discussion followed two excellent talks: Buell Cobb reading two excerpts from his new memoir, and Warren Steel discussing the relationship between oral and written in Sacred Harp and related music. After the panel we walked over to the old Shelby County Courthouse, now the home of the Shelby County Historical Society, where David Ivey led a Sacred Harp singing.

“We’ll All Sing Hallelujah: Sacred Sounds of Alabama” was sponsored by the National Endowment for the Arts, Alabama Council on the Arts, Alabama Humanities Foundation, and the “Support the Arts” car tag fund. Thanks to Alabama Folklife Association executive director Mary Allison Haynie for her work organizing the event, and to Nathan Rees, who chaired the day’s talks and introduced the participants in our panel.

NEA National Heritage Fellowships Concert

This past Friday I participated in a concert at George Washington University’s Lisner Auditorium honoring the recipients of the 2013 National Endowment for the Arts National Heritage Fellowship. David Ivey, Sacred Harp Musical Heritage Association secretary and Camp Fasola co-founder, was among the awardees. I joined a group of twenty-five twenty-seven Sacred Harp singers, mostly from Alabama and Georgia, who opened the concert singing four songs: “Idumea” (p. 47b in The Sacred Harp), “Florida” (p. 203), “Christian’s Farewell” (p. 347), and “Wayfaring Stranger” (p. 457). A videorecording of the 2013 NEA National Heritage Fellowships concert is available on the NEA website. Continue reading “NEA National Heritage Fellowships Concert”

Congratulations to David Ivey, NEA National Heritage Fellow

Congratulations to David Ivey on his receipt of an NEA National Heritage Fellowship. David Ivey, co-founder with Jeff Sheppard of Camp Fasola, and member of the committee that revised the 1991 Edition of The Sacred Harp, is also secretary of the Sacred Harp Musical Heritage Association. David Ivey is the third Sacred Harp singer to be honored as a National Heritage Fellow and is the first since 1983, when Dewey Williams received the award in its second year. Hugh McGraw, Executive Secretary Emeritus of the Sacred Harp Publishing Company, and head of the 1991 Edition’s music committee, received the award in 1982.